COCO (2017): AN INFORMATIONAL APPROACH ON LIFE AFTER DEATH
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RMC Original JMM
ISSN electrónico: 1885-5210
DOI: https://doi.org/10.14201/rmc2020163175183
COCO (2017): AN INFORMATIONAL APPROACH ON LIFE AFTER DEATH
Coco (2017): Una aproximación informacional a la vida después de la
muerte
Hans CONTRERAS-PULACHE1,2,3; Lucía GOMEZ-SAENZ1; Anie S. SORIANO-ABAL1; Alonso ZORRILLA1;
Jeel MOYA-SALAZAR1,2,4
1
Escuela de Medicina Humana, Facultad de Ciencias de la Salud, Universidad Privada Norbert Wiener, Lima (Perú).
2
Grupo de Investigación en Neurociencias Aplicadas-GRINA, Universidad Privada Norbert Wiener, Lima (Perú).
3
Centro de Desarrollo Integral RINCONADA, Lima, (Perú). 4Hospital Nacional Docente Madre Niño San Bartolomé,
Lima (Perú).
e-mail: jeel.moyasalazar@icloud.com; jeelms@outlook.com
Fecha de recepción: 5 April 2019
Fecha de aceptación: 23 June 2019
Fecha de publicación: 15 september 2020
Abstract
We propose the answer to a question that until today is very questionable, is there life after
death? In this document we will give an answer from the perspective of the Sociobiological Infor-
mational Theory. For this we need exact moments of the movie Coco (2017), in which this theory
can be applied, thanks to the cinema. It should be noted first that in the film there are two aspects
of the same side. A life as social information and a life as a conscious-psychic system, then the key
moment that serves as an example to explain this phenomenon is when the character «Chicharrón»
disappears from the world of the dead when no one in the real world remembers. However, when
the old «Coco» remembers her deceased father «Hector», he manages to revive informationally.
At the same time, we also indicate and congratulate the upright graphic quality in the details that
characterize the animation. In short, we are going to say that, indeed, yes, there is life (informatio-
nally speaking) after death. And this because when we appear in the world we begin to live as social
information, then we are born, and our life as social information grows in increasing complexity.
Key words: cinema; animation; sociobiology; information; conscience; social information.
Rev. Med. Cine. 2020; 16(3), 175-183 Ediciones Universidad de Salamanca / J. Med. Mov., 2020; 16 (3), 175-183
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COCO (2017): AN INFORMATIONAL APPROACH ON LIFE AFTER DEATH
HANS CONTRERAS-PULACHE; LUCÍA GOMEZ-SAENZ; ANIE S. SORIANO-ABAL; ALONSO ZORRILLA; JEEL MOYA-SALAZAR
Resumen
Se plantea la respuesta a una pregunta que hasta el día de hoy es muy discutible, ¿hay vida
luego de la muerte? En este documento daremos una respuesta desde la perspectiva de la Teoría
Sociobiológica Informacional. Para esto precisamos momentos exactos de la película Coco (2017), en
el cual gracias al cine se puede dar aplicación a esta teoría, cabe indicar primero que en la película
hay dos aspectos de un mismo lado. Una vida como información social y una vida como sistema
psíquico consciente, entonces el momento clave que nos sirve como ejemplo para explicar este
fenómeno es cuando el personaje «Chicharrón» desaparece del mundo de los muertos cuando
nadie en el mundo real lo recuerda, sin embargo cuando la anciana «Coco» recuerda a su padre
fallecido «Héctor», este logra revivir informacionalmente. A su vez también señalamos y felicitamos
la buena calidad gráfica en los detalles que caracterizan la animación. En síntesis, vamos a decir que,
en efecto, sí, existe la vida (informacionalmente hablando) después de la muerte. Y esto porque
cuando aparecemos en el mundo empezamos a vivir como información social, entonces nacemos,
y nuestra vida como información social crece en complejidad creciente.
Palabras clave: cine; animación; sociobiología; información; conciencia; información social.
Technical details Production Companies: Pixar Animation Studios
/ Walt Disney Pictures.
Synopsis: Miguel is a young man longing to
«I begin to understand that stopping become music legend despite the ban on his
is started die».
family. His passion will take you deep into the
«Land of the Dead» for their original family
Santiago Pajares legacy”.
Awards: Two Academy Awards: Best Costume
animation and Best Song (2017); Golden Globes:
Title: Coco. Best animated film (2017); BAFTA Awards: Best
Original title: Coco. animation (2017); Annie Awards: 11 awards
Country: United States. including best film, direction and screenplay
Year: 2017. (2017); Film Critics Circle of New York: Best
Director: Lee Unkrich, Adrian Molina. animated film (2017); National Board of Review
Music: Michael Giacchino. (NBR): Best film animation (2017); Critics Choice
Cinematography: Animation, Matt Aspbury, Danie- Awards: Best Animated and Song (2017); Sate-
lle Feinberg. llite Awards: Best ani- mated film (2017); Produ-
Film Editing: Steve Bloom, Lee Unkrich. cers Guild (PGA): Best animation (2017); Chicago
Screenwriters: Lee Unkrich, Jason Katz, Matthew Film Critics Association: Best animated film
Aldrich, Adrian Molina. (2017).
Cast: Anthony Gonzalez, Gael García Bernal, Benja- Links:
min Bratt, Alanna Ubach, Renée Victor, Ana https://www.filmaffinity.com/es/film893369.
Ofelia Murguía. html
Color: Color. https://www.imdb.com/title/tt2380307
Runtime: 109 minutes.
Language: English. Trailer
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HANS CONTRERAS-PULACHE; LUCÍA GOMEZ-SAENZ; ANIE S. SORIANO-ABAL; ALONSO ZORRILLA; JEEL MOYA-SALAZAR
Simply review the theory of Lynn Margulis’
Endosymbiotic Theory (1938-2011) to understand
that life, since it appeared (although «appear»
not the verb) above the ground has not ended3.
That from the first bacteria that settled on the
«inert» world, life has not done, but replicate and
stay diversified, and diversify, but only (always
continuous) from the beginning to now. In addition
«now» means «right now» when we writing these
lines. Now they are running the eyes of the reader.
All integrated in one life, and unique sense. A
sense of commitment (breakdown of «bypass»)
versus inert order: natural.
Therefore, there is no dichotomy between
the dead (the inert, so lifeless, and so natural) and
life: everything is a continuity, a steady stream. No
individual or specie (s). Life is a breakthrough in the
entropic order of the physicochemical reactions:
life is not a bumper car of molecules. Life is not
ordered, from information-organized matter. Here
we will take an alternative position held in socio-
biological theory Informational (TSI) of Pedro Ortiz
American poster. Cabanillas, developed in Peru from 1960 to 20114.
From here, let us define life as information. Life
Introduction is information. Information is a material structure
Let us start by asking: Is there life since death? that has the ability to organize matter. The inert
We will say that facing this impossible question material can be ordered, but it has disorder, chaos,
cannot produce an answer, at least, we can tell entropy. Information allows some stuff organized.
a position. We mention, by way of synthesizing, That is, wrap the order / disorder; print a notion
but at the risk of caricaturing, essentially, two of complexity and system.
positions: the believer’s position and the position In the order / disorder of nature, life defies
of the scientist. Then we produce a particular the natural tendency of things (entropy), neguen-
proposal, alternative, of informational cohort1. tropicly structure levels of complexity. Life is
It can be said, as the believer, yes, effected to: complex. Before the unsophisticated question:
there is life after death; but this response (which what is the difference between a cat and a stone
is actually a position) appears to be made more will say (not responding, is not an answer, it is
«with the heart» that «head»2, and can be said as evident a position), the cat is a complex being,
the scientist who does not exist or that you cannot stone do not, and more specifically, humans
say anything definite (scientifically) against the to appear (although «appear» is not the word)
question. We believe that the profound dilemma in the world we are a continuity, and from this
this way of believing and doing science (which perspective, birth is only one of the most impor-
are positions «against life») is not defining life, tant circumstantial events in a person’s life course,
why are trapped in stating that death is the «end and more specifically: human beings to cease
of life». Moreover, nothing to do. Nothing to do. our presence in the world (what is said vulgarly:
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COCO (2017): AN INFORMATIONAL APPROACH ON LIFE AFTER DEATH
HANS CONTRERAS-PULACHE; LUCÍA GOMEZ-SAENZ; ANIE S. SORIANO-ABAL; ALONSO ZORRILLA; JEEL MOYA-SALAZAR
when we die). We are, or at least inaugurate: the person lives in the course of his personal life, his
possibility of continuing to live: no longer with conscious life, your mental life is a closed society
heartbeats and arterial pressures, no longer with system (in this sense, to become aware, the social
psychogalvanic reflexes, no longer with nuclear, must be recreated).
cortical, conscious-epiconscious activity, since not Social information is supra individual, wrap
as personal speech running; but on the contrary each person, but every person, from the cellu-
as social information. lar level, can recreate social information and
Let us stop to consider the above, stop. Just commence the conscious psychic life (which is
as we define information as the material structure what differentiates us from macaque, cow, and
that organizes nature and inaugurates life, let us bird shrewdest and more emotional mammal).
define now (since there are physically five types This social information exists as a correlate of
of information, the last one is): social information. the highest level of organization of life: conscious
Social information is any external physical psychic information. Nevertheless, what we need
structure to people, subjects; it takes a form in here is that when you consciously psychic infor-
the course of the last, at least 30,000 years. It mation that ceases with the death of the person,
could be traced to the beginning 70,000 years information social persists (in our words, in our
ago, but anyway, this principle had an origin, and actions and in our works). So until no psychic
since then has not stopped succeed: this is called conscious information but as social information,
society. That is, society is a historical structure disappear: either because all recorded terms of the
material, with age, which is the grace of the human person disappear, either because no one remem-
being «modern». This includes the year 2019 after bers us, that is when we are part of forgetfulness
Christ, even though this is probably not the Jesus is the disappearance of social information).
Christ of the vulgar world that is governed by a Social information is always external to the
calendar that does not match the birth of Jesus subject, more specifically: supra individual, that is,
Christ 0 histórico5. it involves it. It is, stricto sensu, the memories of
When a person dies, then, it is social informa- others (that is: the neural networks of conscious-
tion. Much of that social information is created in ness in everyone who has known us), in what one
the course of life of the person, always external to other says to another (that is, in the structure
it, always out. It is obvious that reflects the exist- of language). Death is a circumstantial event.
ence of an «inside» on the outside, but this dichot- Since we were born (even before) we began to
omy inside / outside is misleading. Because, in inaugurate a life that inhabits and inhabits us: in
reality, the outside is wrapping. Said in systemic: it the memories of those who shelter us, and then,
involves untouched, society is peripheral subjects. in our own productions, such as paintings on the
There is no inside because there is an outside walls when we are children, our first writings,
(or vice versa); there is no inside and no outside. the scribbles, the dotted paths on the letters and
Society surrounds, but does not touch it is a closed numbers, our school notebooks, our paintings, our
system. The subjects, the people, are also closed, «mind maps», our diaries, our work platelets, the
epigenetic and kinetically closed systems6. prizes we have won and lost.
Consider the following fact: all that can stim- And also in the photos in which we go out, in
ulate a human being enters the cellular level. the portraits and in the paintings, in the musical
This cellular level a complexity of five levels is works we created (imagine Nietzsche and think
entirely closed set. Why should not extrapolate of his musical compositions), in the poems, in the
from cell to conduct, because between them there stories (imagine- It is to Cortázar and think about
are substantial differences cataclysms. What the his prosaic compositions, it is unquestionable that
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HANS CONTRERAS-PULACHE; LUCÍA GOMEZ-SAENZ; ANIE S. SORIANO-ABAL; ALONSO ZORRILLA; JEEL MOYA-SALAZAR
Cortázar will always be «alive» while his stories destiny: fight against oblivion. The hero of Coco
are read and probably all his work), Also, in the is not the boy Miguel, nor the dog Dante, nor
performances, in the recordings that capture our that collection of eggs called Hector, but an old
temporal presence (imagine and think of silent woman, called Coco (although we do not know his
movies: Charlotte is alive forever in her movies), real name, only it is called like this: Coco) who is
and so on. That is, since we were born, we inau- about to die (and that before his death: blooms).
gurated an existence that surrounds us. We call Moreover, with the flowering it breaks the spell
this whole way of life: life as social information. of oblivion, and stretches, for at least one more
This life as social information transcends or, time the collective memory, that is: life as social
we need, can transcend, to death. For which death, information (Photo 1).
like every birth, is only one of the most important
circumstantial events in the life course of a person,
and more punctually: human beings ceasing our
presence in the world (what is said vulgarly: when
we die) we are, or at least we inaugurate the
possibility of continuing to live.
Intempestive considerations
Certainly, if we look at things like that, a huge
incident skips us: it is no longer just that the Alex-
andria library has been burned; it is something
more contemporary, something more substitute.
In addition, he says so, many of our ancestors have
no life as social information, and this is precisely
the movie Coco (2017).
For others, this film may be about other things.
We celebrate, and affirm that all interpretation is
valid. Then we continue: many of our ancestors
have no life as social information since we have Photo 1. Social Information stretch. A) Miguel plays
completely forgotten about them, they do not the song «Remember me» for Mom Coco and she
remembers her father Hector used to sing that song.
exist anymore, maybe they died when they died, B) Open a notebook containing poems, letters, and
or maybe they died after they died, and shortly C) the missing piece, which is the face of Hector, in
after when there was no one left who remember, family picture.
that is, imagine and think about them, when all the
records of his psychomotor traces, all his letters True: every human being can live, but not
and portraits, all his photographs, all the records every human being can survive (to live as social
disappeared, i.e. when his presence was finally information). Examples of survival: lives as social
erased from history. In other words, when social information: Jesus Christ (no matter if the calendar
information is over (because social information can or the «real»), Buddha, Plato, Socrates, Hippo-
be finished: this is no longer called death: death crates, Descartes, Caravaggio, Darwin, Freud,
has passed, we call this forgetfulness). Mozart (does not matter if the of the effect or
That is why Coco is a time to remember the the «real»), Cézanne, Marx, Picasso, Hegel, Leon-
always-heroic effort to fight against an inevitable ardo, Nietzsche, Kurt Cobain, Frida Khalo, Michael
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HANS CONTRERAS-PULACHE; LUCÍA GOMEZ-SAENZ; ANIE S. SORIANO-ABAL; ALONSO ZORRILLA; JEEL MOYA-SALAZAR
Foucault, Albert Einstein (et cetera and highlight houses it. Moreover, the living phenomenon has
the presence of the name for that (post) and so no end but a beginning: that begins with copies
on). Moreover, specifically: this is also the reason of bacteria, then a continuous movement until, in
why the most crapulae continue to live: because the last 30,000 years (at least) has is established
we remember them. The best way (if not the only a fifth level of complexity: society.
way) to forget is not to remember (let time erase The first level of information: cellular systems:
all memory), only then does social information the second level of information: tissue systems:
disappear. the third level of information: neural systems: the
Because remembering is imagining and think- fourth level of information: psychical systems: the
ing, informationally speaking, is recreating. When fifth level of information: the consciences systems
we remember Napoleon, we are inventing it, (which are the only ones who have a correlative
that is: we are recreating it. The same when we material that surrounds them as living systems:
remember Walt Whitman, we make it exist more social information)6. That is, social information
as social information, then it grows, increases exists based on conscious psychic information.
At this time, the question is no longer: is there That is why we live in our works, for example.
life after death? We are facing a space devoid of We need a few more points about the film
time. Our consideration is many of our ancestors Coco. Certainly not the first time the film-ani-
did not have life as social information. What if. mated cinema seeks inspiration from the Latin
Certainly, each of us, charging behind a huge America tradition. However, this film shows several
presence forgotten. differential features: now in terms of image and
So where is our oldest grand grandmother? animation processing, now in terms of the argu-
On the other hand, without going so far: where is ment and the development of the plot (Photo 2).
the grand grandfather’s grandfather? Surely that Coco witnessing an interesting phenomenon. The
character, which is no longer, it was forgotten, title does not refer to the main character of the
had his worldview: his way of conceiving love (its film. Everywhere a film with the image of a boy
night Juanita, clear and half-moon, modesty and and his dog (wolf, because dog is not that if dog
adventure, so the song goes somewhere film: «you called «bulldog», then you better call Dante) is
know already, Juanita ... his eyes are bicolored promoted. Then we begin to see the movie and in
... his crooked teeth, and has three ...»), politics, fact, the character is Miguel APA-ent, the child of
even its own explanatory form of things and their marketing images (propaganda, promotion that,
as here, plays with our affections). Moreover,
own comfort. Nevertheless, where is it? Answer
along with Miguel: Dante, Latin American wolf
(and somehow we return to the original question)
that existed before the sudden inclusion of Latin
is not. He is already dead «dead». Already he is
America in the globalizing world context. Around
forgotten. He disappeared as social information.
Miguel, their parents, and with them, almost to
It happened what happens to Chicharrón
the present age of a mountain, the ancestral figure
(«Chi» in English) in the film, after the last existing
soon found out is called Coco.
only in the world of the dead (Photo 2) drink. Or
However, when you think about the target
rather, what was social information (and tran-
audience for this film they are children, who in
scending death of «man») and returned to be
his filmic probable not yet come to develop a
natural, inorganic materials structure. Us specify
syntagmatic structure but an approach essentially:
now, social information is the only type of informa-
afective7.
tion that exists supra-individual mode, i.e. above
(«out») of the living system that shelters, which
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HANS CONTRERAS-PULACHE; LUCÍA GOMEZ-SAENZ; ANIE S. SORIANO-ABAL; ALONSO ZORRILLA; JEEL MOYA-SALAZAR
One of the attributes values of the film is that
it shows in detail (the use of modern animation
technology): the possibility of experiencing the
world of «beyond» the «world of dead» the world
that, according to tradition, exists and is inhabited
by the dead do we remember (Photo 3).
In our terms, the world that evidently is alive
(at least as organized and legislated as the world
of the living) is in reality, life and social informa-
tion. Beyond the celebration of the dead, a fact
that plays a key role in the plot of the film, let’s
stay with the following fact, everyone who dies,
according to the phrase structure of the film,
we repeat all that dies, goes to the land of the
dead, and remains there until (in life) all forget,
or what is the same: no one will remember. This
is recorded in the film with total mastery. «Coco»
Photo 2. Disappearance of Social Information. A) shows that life in the earth of the dead is not an
Chicharrón (also called Chi) berates Hector for his eternal life; i.e. our life after death depends on
femur, but realizes it is feel forgotten, B) then asks
you to play your favorite song, finally (C, D, E, F) is
the postponement of oblivion.
the Chicharrón disappearance process in the eyes of Say more than Chicharrón: character, whom
Hector and Miguel. nobody remembers, and is about to disappear
from the land of the dead (in our terms: it is about
to disappear as a social information). Hector then
asked me to sing your song preferred. Then this
intones the rhythm of a soft guitar hymn to Juanita,
and finally, at the climax of the scene, shown
Length, Chicharrón says last to die forever in the
film (which by-nobody remembers, nobody imagi-
nes, nobody thinks of him), «I move my memo-
ries». As by telling do: as we live, we live, we move
our lives, and dying live only when we remember
when we move those who imagine us and think,
who recreate us as social information.
Conclusion
Said in information: when we are born, we set
up a life that surrounds us. There are two aspects
of the same side. A social life information and life
Photo 3. Graphics quality animation «Coco». Note the as a conscious psychic system (mental, if you want
quality and details that characterize the animation, in to use a current term). When dying, conscious life
which we highlight to A) the altar of dead family, and is over. However, while we live is- this conscious
B) the world of the dead. life may reflect supraindividually. We have said
Rev. Med. Cine. 2020; 16(3), 175-183 Ediciones Universidad de Salamanca / J. Med. Mov., 2020; 16 (3), 175-183
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HANS CONTRERAS-PULACHE; LUCÍA GOMEZ-SAENZ; ANIE S. SORIANO-ABAL; ALONSO ZORRILLA; JEEL MOYA-SALAZAR
that this reflex can be our pictures, our pictures, social information. Therefore, we do exist, we do
our poems, our letters, our pictures, our videos, live after death.
our writings, that is, in short, do remembers of
other and our testimonies. If death represents References
the cessation of conscious life, time represents 1. Ortiz P. Psicobiología Social (Tomo 1). 1 Ed. Lima:
the same independence, the birth of life entirely Fondo Editorial de la Universidad de Ciencias y Huma-
as social information. nidades; 2017.
Finally, stop responding again to our initial
2. Chakraborty R, El-Jawahri AR, Litzow MR, Syrjala
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that indeed, yes, there is life after death. This is ligious beliefs about major end-of-life issues in the
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as social information grows in complexity. Until
3. Margulis L. Symbiotic Planet: A New Look at Evolu-
death happens to us and ends (although «Ending» tion. New York: Basic Books; 1998.
is not the word, fade is not finished) our conscious
lives (our creative life of social information). Then, 4. Contreras-Pulache H, Moya-Salazar J. In Memo-
death is birth, the independence of our life as riam: Pedro Ortiz Cabanillas (1933-2011). Pan J Neu-
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social information (in terms of the film: dying we
are born as social information, social information 5. Rigby G. The God Secret. New York: Eloquent
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the dead Coco is social information). Whenever 6. Ortiz P. El Sistema de la Personalidad. 2ed. Lima:
we remember, we create social information. If Fondo Editorial de la Universidad de Ciencias y Huma-
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With each biography to be written about Chaplin brimiento del cine a lo largo de la vida. Lima: Fondo
will be recreating social information, like your Editorial de la Universidad de Ciencias y Humanida-
movies whenever you look, we are recreating as des; 2016.
Hans Contreras-Pulache. Es Médico Cirujano por la Universidad Nacional
Mayor de San Marcos. Se ha especializado en epidemiología, salud pública,
gerencia social y gestión pública. Se ha hecho responsable, desde el 2011,
de toda la obra académica de Pedro Ortiz Cabanillas. Como parte de este
trabajo editorial ha publicado: «La explicación científica del hombre» (2013),
«El sistema de la personalidad» (2016), «Psicobiología social» (2017) y «La
explicación informacional» (2019). Su obra personal ha principiado con
«Neurología Fílmica» (2016).
Lucia del Carmen Beatriz Gomez Saenz. Estudiante de segundo año de la
facultad de Medicina Humana. Egresada en Advanced English del Insti-
tuto Cultural Peruano Norteamericano (ICPNA) en el 2016. Certificada en
Methodology for EFL teachers en el año 2017.
Rev. Med. Cine. 2020; 16(3), 175-183 Ediciones Universidad de Salamanca / J. Med. Mov., 2020; 16 (3), 175-183
[ 182 ]COCO (2017): AN INFORMATIONAL APPROACH ON LIFE AFTER DEATH
HANS CONTRERAS-PULACHE; LUCÍA GOMEZ-SAENZ; ANIE S. SORIANO-ABAL; ALONSO ZORRILLA; JEEL MOYA-SALAZAR
Anie Susi Soriano Abal. Estudiante de segundo año de la carrera de Medi-
cina Humana. Titulada de la carrera de Enfermería Técnica en el Instituto
Superior Tecnológico San Pablo (2012). Interesada por la neurología e
investigación científica. Actualmente laboro en proyectos de ayuda social
con niños y adolescentes.
Alonso Jean Pierre Zorrilla Chávez. Estudiante del segundo año de la facul-
tad de Medicina Humana. Actualmente representante de televentas para
movistar Argentina en Konecta. Apasionado por el deporte.
Jeel Moya-Salazar. Tecnólogo Médico en la especialidad de Laboratorio
Clínico y Anatomía Patológica, y es egresado de la Maestría en Ciencias y
estudiante de la Maestría en Salud Publica. Ha colaborado en proyectos
de investigación en la Samara University (Rusia), Stanford University (US),
y Universidad de Buenos Aires (Argentina). Es investigador asociado de
postgrado de la Universidad Privada San Juan Bautista (Perú), integrante de
The African Society for Laboratory Medicine y The Mars Society.
Rev. Med. Cine. 2020; 16(3), 175-183 Ediciones Universidad de Salamanca / J. Med. Mov., 2020; 16 (3), 175-183
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